Top Ten Favorite Movies Set Between 1750 and 1799

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Below is my current list of favorite movies set between 1750 and 1799: 

TOP TEN FAVORITE MOVIES SET BETWEEN 1750 AND 1799

1 - The Last of the Mohicans

1. “The Last of the Mohicans” (1992) – Michael Mann directed what I believe is the best film adaptation of James Fenimore Cooper’s 1826 novel set during the Seven Years War. The movie starred Daniel Day-Lewis, Madeleine Stowe, Wes Studi and Russell Means.

2 - Dangerous Liaisons

2. “Dangerous Liaisons” (1988) – Stephen Frears directed this sumptuous Oscar nominated adaptation of screenwriter Christopher Hampton’s 1985 stage play, which was an adaptation of Pierre Choderlos de Laclos’ 1782 novel. The movie starred Glenn Close, John Malkovich and Michelle Pfieffer.

3 - Crouching Tiger Hidden Dragon

3. “Crouching Tiger, Hidden Dragon” (2000) – Ang Lee directed this superb Oscar winning adaptation of Wang Dulu’s wuxia novel. The movie starred Chow Yun-fat, Michelle Yeoh and Zhang Ziyi.

4 - Amazing Grace

4. “Amazing Grace” (2006) – Ioan Gruffudd, Benedict Cumberbatch and Romola Garai starred in this biopic about British politician/abolitionist William Wilberforce’s efforts to end Britain’s TransAtlantic slave trade. Michael Apted directed.

5 - The Scarlet Pimpernel

5. “The Scarlet Pimpernel” (1982) – Anthony Andrews and Jane Seymour starred in this superb adaptation of Baroness Orczy’s 1905 novel and its 1913 sequel, “Eldorado”. Directed by Clive Donner, the movie co-starred Ian McKellen.

6 - Pride and Prejudice 2005

6. “Pride & Prejudice” (2005) – Joe Wright directed this first-rate adaptation of Jane Austen’s 1813 novel. The movie starred Keira Knightley and Matthew Macfadyen.

7 - 1776

7. “1776” (1972) – William Daniels, Howard da Silva and Ken Howard starred in this adaptation of Peter Stone’s 1969 Broadway musical set during the American Revolution. Peter H. Hunt directed.

8 - The Scarecrow of Romney Marsh

8. “The Scarecrow of Romney Marsh” (1963) – Patrick McGoohan starred in this Disney adaptation of Russell Thorndike’s 1915 novel, “Doctor Syn: A Tale of the Romney Marsh”. James Neilson directed.

9 - Jefferson in Paris

9. “Jefferson in Paris” (1995) – Ismail Merchant co-produced and James Ivory directed this semi-fictionalized account of Thomas Jefferson’s tenure as U.S. Ambassador to France. The movie starred Nick Nolte, Greta Scacchi, Gwyneth Paltrow and Thandie Newton.

10 - April Morning

10. “April Morning” (1988) – Chad Lowe, Tommy Lee Jones and Robert Urich starred in this adaptation of Howard Fast’s 1961 novel about the Battle of Lexington and Concord. Delbert Mann directed.

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“VICTORIA” Season One (2016) Episode Ranking

Below is my ranking of the Season One episodes of the ITV series called “VICTORIA”. Created by Daisy Goodwin, the series stars Jenna Coleman as Queen Victoria: 

“VICTORIA” SEASON ONE (2016) EPISODE RANKING

1. (1.05) “An Ordinary Woman” – After the young Queen Victoria announces her engagement to Prince Albert of Saxe-Coburg and Gotha, the Tory-controlled Parliament reacts with hostility at the idea of a German consort.

2. (1.03) “Brocket Hall” – Victoria receives pressure to get married as soon as possible from her mother, the Duchess of Kent; the latter’s corrupted aide, Sir John Conroy; and her uncle, King Leopold of Belgium, who wants her to marry Prince Albert.

3. (1.02) “Ladies in Waiting” – When the popularity of Whig Prime Minister Lord Melbourne wanes, the Tory party under Sir Robert Peel eagerly anticipates assuming power and demand that the Queen dismiss her four Whig Ladies of the Bedchamber and replace them with the wives of Tories.

4. (1.07) “The Engine of Change” – Tory ministers plot to disrupt a pregnant Victoria and Albert’s visit to northern England, after she declared that in the event of her death from childbirth, Albert will become regent.

5. (1.04) “A Clockwork Prince” – Prince Albert arrives in England to visit and officially court Victoria. The pair proved to be mutually aloof, and resentful for being pushed toward each other.

6. (1.01) “Doll 123” – Upon the death of King William IV, his 18 year-old niece, Victoria of Kent, becomes Britain’s new sovereign and immediately declares her independence from the Duchess of Kent and Sir John. This also leads her into a royal scandal involving her mother’s lady-in-waiting, Lady Flora Hastings.

7. (1.06) “The Queen’s Husband” – Feeling listless in court, Prince Albert becomes interested in the abolitionist movement. Meanwhile, Victoria curries favor with her paternal uncle, the Duke of Sussex, who is unable to present his wife at court because their morganatic marriage.

8. (1.08) “Young England” – A heavily pregnant and bored Victoria defies the advice of her husband and mother by a drive to escape the confines of Buckingham Palace, attracting the attention of a deranged would-be assassin.

“FAR FROM THE MADDING CROWD” (1998) Review

“FAR FROM THE MADDING CROWD” (1998) Review

For years, I had made an effort to avoid any novel written by Thomas Hardy and any movie or television production based upon his works. This has nothing to do with how I felt about the quality of his work. My attitude sprang from my reading of his 1886 novel, “The Mayor of Casterbridge”, when I was in my late teens. I found the latter rather depressing and suspected that most of his other works possessed the same downbeat tone. As I grew older, I discovered a tolerance for stories with a downbeat or bittersweet ending. This led me to try Hardy again and so, I focused my attention on the 1998 miniseries, “FAR FROM THE MADDING CROWD”.

Based upon Hardy’s 1874 novel, “FAR FROM THE MADDING CROWD” told the story about a young woman named Bathsheba Everdene, who had recently inherited her late uncle’s prosperous estate. Possessing a vain, yet independent and naïve personality, Bathsheba finds herself torn between three men who wish to marry her:

*Gabriel Oak – a failed sheep farmer who is hired by Bathsheba as a shepherd for her farm

*William Boldwood – a prosperous farmer and Bathsheba’s neighbor, who develops a romantic obsession toward her

*Sergeant Francis “Frank” Troy – a dashing Army sergeant, who turns to Bathsheba not long after his planned wedding to a local girl named Fanny Robin fails to take place.

The story begins with Bathsheba living on a farm with her aunt, Mrs. Hurst. She meets Gabriel Oak, a former shepherd who has leased and stocked a sheep farm. Although the pair develops a close friendship, Gabriel falls in love with Bathsheba and eventually proposes marriage. Valuing her independence too much, Bathsheba refuses and their relationship cools down. Gabriel’s fortunes take a worse for turn, when his inexperienced sheep dog drives his flock of sheep over a cliff, bankrupting him. Bathsheba, on the other hand, inherits her uncle’s prosperous estate in Westbury. Their paths crosses again, and she ends up hiring Gabriel as her new shepherd.

However, Bathsheba has also become acquainted with her new neighbor, the wealthy farmer, John Boldwood, who becomes romantically obsessed with her after she sends him a Valentine’s Day card as a joke. He sets about wooing her in a persistent manner that she finds difficult to ignore. But just as Bathsheba is about to consider Mr. Boldwood as a potential husband, Sergeant Frank Troy enters her life and she becomes infatuated with him. Unbeknownst to anyone, Frank was set to marry one of Bathsheba’s former servants, a young woman named Fanny Robin. Unfortunately, the latter showed up at the wrong church for the wedding. Humiliated and angry, Frank called off the wedding. While Bathsheba finds herself in the middle of a rather unpleasant love triangle between Boldwood and Frank, Gabriel can only watch helplessly as this situation develops into tragedy.

I might as well be honest. “FAR FROM THE MADDING CROWD” did not strike me as completely tragic. It did not prove to be tragic at the same level as stories like “The Mayor of Casterbridge” or “Tess of the d’Urbervilles”. In fact, the story did not even have a tragic ending (for which I am grateful). But there was something . . . I cannot put my finger on it . . . there was an undertone to the story that I found both fascinating and disturbing. And it all revolved around the character of Bathsheba Everdene. Personally, I feel that she was one of Hardy’s best creations. Bathsheba proved to be a curious mixture of virtues and flaws that I fear is becoming increasingly rare among fictional female characters.

One one hand, Bathsheba was an intelligent woman who quickly learned to manage an estate and lead a group of workers who harbored doubts about her, due to her gender. She also had the good sense to realize she lacked the experience or talent to deal with some aspect of estate managing and turn to someone who could help her – usually Gabriel Oak. On the other hand, Bathsheba also proved to be a vain young woman, who seemed a bit too concerned about how others thought about her. This vanity led her to hide her previous friendship with Gabriel . . . to the point that she insisted they maintain an employer-employee distance from each other. Bathsheba also possessed a slightly cruel streak that led her to thoughtlessly play an unkind joke on John Boldwood by sending him a Valentine Day’s card with the words “Marry me” scribbled on it. Ironically, Bathsheba also proved she could be just as obsessive as Boldwood, when she fell for Frank Troy and realizes after their wedding that he had continued to love his former fiancée, Fanny Robin. It was this combination of positive and negative traits that made Bathsheba such an interesting and ambiguous character. And Bathsheba’s ambiguous nature seemed to have a strong impact on Hardy’s tale.

Through Bathsheba’s relationship with Gabriel Oak, audiences received glimpses of the day-to-day realities of business and life on a 19th century farm. Audiences also got a chance to view Bathsheba through Gabriel’s eyes – despite his love for her, he seemed to harbor a realistic view of her. Through her relationships with neighbor John Boldwood and husband Frank Troy, audiences got the chance to see Bathsheba deal with obsession from both sides of the fence – whether she was the object of Boldwood’s obsession or Frank was the object of hers. Now that I think about it, I find it odd that a major character would experience obsession from different perspectives in that manner. How strange . . . and yet, satisfying in a way.

Although the plot for “FAR FROM THE MADDING CROWD” focused strongly on the romantic dynamics between Bathsheba, the three men in her life and the Fanny Robin character; I was pleased to discover that Philomena McDonagh’s screenplay also gave audiences many glimpses into the lives of the farmhands that worked for Bathsheba. The miniseries delved into her relationship with her workers and their own perspectives and hangups over whether she could handle being the owner of prosperous farm. As with her relationship with Gabriel, Bathsheba’s relationship with her workers allowed the audiences to appreciate the realities of life on a 19th century farm.

The production values for “FAR FROM THE MADDING CROWD” seemed pretty top-notch. Well . . . most of them. I had no problems with Adrian Smith’s production designs. I thought he did an excellent job in re-creating mid 19th century Wessex. Rosie Hardwick and Paul Kirby’s art direction contributed to the movie’s overall look, along with Nic Ede’s costume designs. I find it interesting that this version is set between the late 1850s and 1860, especially since the other two adaptation are set in the 1870s . . . the same decade as the novel’s publication. Although I admire John Daly’s use of the locations in Derbyshire, Cheshire and Wiltshire as substitutes for Wessex, I did not care for the cinematography very much. I found it slightly too dark and the color did not hold up well in the following seventeen to eighteen years.

The cast, on the other hand, struck me as first-rate. It is a pity that very few ever comment on Paloma Baeza’s portrayal of Bathsheba Everdeen. Frankly, I thought she did an excellent job in conveying both the character’s ambiguities, charm and intelligence. More importantly, she did a first-rate job in carrying such a large production on her shoulders, at such a young age. Nathaniel Parker’s portrayal of Gabriel Oak proved to be the production’s emotional backbone. But the actor also did an excellent job in conveying his character’s quiet passion, along with his jealousy and growing despair over Bathsheba’s relationships with both John Boldwood and Frank Troy.

John Terry was at least a decade older than the John Boldwood character at the time this miniseries was filmed. However, I do not believe that this decade old age difference hampered his character one whit. He gave an outstanding performance as the love-sick, middle-aged farmer who developed a growing obsession over the young and pretty Bathsheba. At first, I had some difficulty is viewing Jonathan Firth as the dashing, yet egotistical Frank Troy. I fear this had to do with my inability to view the actor as the roguish type. And I was not that impressed by the sword demonstration scene between his his character and Baeza’s Bathsheba. But the more I watched Firth on the television screen, the more I found myself impressed by his performance . . . especially by the time his character had married Bathsheba and began to reveal his less than pleasant traits to his new wife. Natasha Little gave a very charming, yet sympathetic performance as the hard-luck Fanny Robin, whose mistake in showing up at the wrong church for her wedding to Frank, proved to be so disastrous. Fortunately for Little, the screenplay allowed her to portray Fanny as an individual with her own set of emotions, instead of the mere plot device that Hardy had portrayed in the novel. The production also benefited from solid performances by Tracy Keating, Gabrielle Lloyd, Linda Bassett, Phillip Joseph, Rhys Morgan, Reginald Callcott and Sean Gilder.

“FAR FROM THE MADDING CROWD” may have suffered from questionable photography, but I certainly had no problems with other aspects of the productions. Its 216 minutes running time allowed screenwriter Philomena McDonagh and director Nicholas Renton to create a superb and detailed adaptation of Thomas Hardy’s novel. Also, top-notch production values (aside from the photography) and excellent performances from a cast led by Paloma Baeza and Nathaniel Parker added a great deal to already well done miniseries.

2.1104482

R.I.P. Nigel Terry (1945-2015)

“DUNKIRK” (2017) Review

“DUNKIRK” (2017) Review

Looking back the World War II drama called “DUNKIRK”, I realized that I had made a few assumptions about it. One of those assumptions was that the movie would be a call back to those old war epics of the 1960s and 1970s that featured a running time between two to three hours long and an all-star cast. I was proved right … on one matter.

Written and directed by Christopher Nolan, “DUNKIRK” is about simply about one thing … the British Expeditionary Force (BEF)’s evacuation from Dunkirk, France. The BEF, along with the French Army had been forced to retreat to the city next to the English Channel in early June 1949, after failing to halt the German Army invasion of France. Although British, French and other European forces found themselves trapped at Dunkirk, Nolan’s movie mainly focused on the British troops awaiting evacuation.

Nolan wanted to convey the evacuation from three perspectives:

*the beach (“The Mole”)
*the English Channel (“The Sea”)
*aerial combat (“The Air”)

“The Mole” focused upon the efforts of a young British soldier named Tommy to survive as long as he could and get himself evacuated from Dunkirk as soon as possible. Tommy is eventually joined by a silent soldier who called himself “Gibson”, another soldier called Alex and a group of Scottish soldiers who make several attempts – using a wounded soldier, a ship that ends up being torpedoed by a German U-boat, and a Dutch trawler – to escape the beach in front of Dunkirk over a period of a week.

“The Sea” featured the experiences of a Mr. Dawson of Weymouth, England; along with his son Peter and the latter’s best friend George Mills as part of an armada of British civilian boats sent across the English Channel to help evacuate the trapped at Dunkirk. The experiences of the Moonstone’s crew, which takes place over a period of a day, included the journey across the Channel; their rescue of a shell-shocked Army officer, who was the sole survivor of a wrecked ship; an unexpected and tragic mishap between the officer and George; and the crew’s rescue of a downed R.A.F. pilot named Collins.

“The Air” followed the experiences of Collins, his fellow pilot Farrier and their leader, “Fortis Leader”. Due to the amount of fuel in their Spitfire fighter planes, the trio only have an hour to protect the evacuating troops from the Luftwaffe. “Fortis Leader” is immediately shot down during a dogfight. During the same fight, Farrier assumes command and his fuel gage is shattered. But when Collins is shot down during another dogfight, Farrier is left alone to protect the evacuating troops from the air … using a reserve tank of gas.

Another assumption I had formed before seeing this film was that the story was told in chronological order. Only I had failed to pay attention to the three different time spans that Nolan had conveyed at the beginning of each segment. So, after watching Mr. Dawson and his small crew rescue the shell-shocked officer, I was taken aback at the sight of the same officer preventing Tommy, Gibson and Alex from boarding his doomed ship from the mole (a long pier) later in the film. It was my sister who reminded me of the time differences of each segment. In other words, from their perspective, Tommy and his fellow evacuees had met the officer (who was far from shell-shocked at the time) later in the week they had spent on the French beach. From Mr. Dawson’s perspective, Peter and George had rescued the officer not long after their departure from England.

A part of me wondered if utilizing this non-linear narrative to tell this story was really necessary. Then it occurred to me … it is only natural that soldiers like Tommy would spend at least a week trapped on the beach. It was natural that the crew of the Moonstone would spend only a day traveling between England and France, across the Channel. And it was especially natural that pilots like Farrier and Collins would only spend at least an hour in the air, considering that they were limited by their fuel supply. And if Nolan had told his story in a rigid linear manner, he would have lacked enough time to focus on “The Sea” and “The Air”segments. Looking back on how Nolan handled the time span of his story, I found it very clever. More importantly, a sense of urgency seemed to increase as the three segments eventually converged near the end of the movie.

I also noticed that “DUNKIRK” had a running time of 106 minutes. This is completely different from other World War II dramas with an all-star cast. And yet, I was not even aware of this shorter running time. I became so engrossed in the film that I barely noticed how long or short it was. And if I must be frank, I am rather glad that the movie only ran less than two hours. I do not think I could have handled more than two hours of that film. It was so damn tense … and nerve wracking. The movie featured so many interesting and tense scenes.

Among those scenes include Flight Officer Collins being shot down over the English Channel and his efforts to free himself from his damaged Spitfire before he can drown. Another scene that nearly had me biting my nails featured Tommy, “Gibson” and Alex trying to escape a damaged ship after it had been torpedoed. A real nail biter proved to be the rescued shell-shocked officer’s encounter with the crew of the Moonstone. I found that sequence both tense and tragic. Ironically, the three most tension-filled scenes occurred in the movie’s last twenty to thirty minutes. One of those scene featured Tommy’s efforts to defend “Gibson”, who had revealed himself as a French soldier, from Alex and a group of Scottish troops inside a damaged Dutch trawler under fire by German troopers. I also found Farrier’s last dogfight against a German fighter rather tense to watch. Ironically, this dogfight led to another tense scene featuring Tommy and the other soldiers, as they try to reach a minesweeper and later, the Moonstone amidst burning fuel from the Messerschmitt shot down by Farrier.

There are other aspects of “DUNKIRK” that I admire. One of them turned out to be Hoyte van Hoytema’s photography, as shown in the images below:

I thought his cinematography was absolutely spectacular. And I hope that van Hoytema will receive an Oscar nomination for his work. I was also impressed by Lee Smith’s editing. Between Nolan’s direction and Smith’s editing, the movie marched at a pace that really impressed me … especially the scenes mentioned in the previous paragraph. Nathan Crowley is another I believe should be considered for an Oscar nomination. As the film’s production designer, I thought he did an excellent job in re-creating wartime Northern France and Southwestern England, circa 1940. Jeffrey Kurland did a solid job in creating costumes that reflected both the film’s characters and settings. But they did not particularly blow my mind. As for Hans Zimmer’s score, I found it … okay, I simply do not recall it. What can I say?

I found the performances featured in “DUNKIRK” very admirable. The movie featured solid performances from Kenneth Branaugh and James D’Arcy, who seemed to have formed a pretty good screen team as a pair of British senior officers awaiting evacuation. Mark Rylance gave an admirable performance as the patient, yet commanding Mr. Dawson, owner of the Moonstone. Aneurin Barnard managed to effectively convey the emotions of the French soldier “Gibson” with barely a line or two. Jack Lowden was very effective as the strong-willed Flight Officer Collins. I could also say the same about Barry Keoghan’s performance as Peter Dawson’s eager friend George Mills, who volunteered to accompany the Dawsons to Dunkirk.

But one of the performances that truly impressed me came from Harry Styles as the belligerent soldier Alex, who did a great job of expressing his character’s willingness to cross the moral line for the sake of survival. I also enjoyed Tom Glynn-Carney’s portrayal of the growing maturity of Mr. Dawson’s son, Peter. Cillian Murphy gave a superb performance as the shell-shocked Army officer whom the Moonstone crew rescues from a sinking ship. Tom Hardy seemed to have even less lines than Aneurin Barnard. But with very little lines and a great deal of facial expressions, he was marvelous as the R.A.F. pilot Farrier, whose seemed determined to protect the evacuating troops as long as possible within a space of an hour. The role of the everyman soldier, Tommy, proved to be Fionn Whitehead’s third or fourth role in his career. Yet, this barely 20-something kid did a superb job in carrying most of “The Mole” segment on his shoulders. With a few lines and some great silent acting, Whitehead managed to convey Tommy’s growing desperation to escape the Dunkirk beach … but with his moral compass intact.

I do have one complaint about “DUNKIRK”. Although I realized that “DUNKIRK” was basically about the evacuation of the BEF, a part of me wish that Nolan had did more to set it up. Nolan flashed a brief paragraph about Allies’ retreat to Dunkirk before starting the film. I did not expect the director to go into details about the events that led to the retreat. But damn! He could have spared more than one measly paragraph.

Otherwise, I was very impressed with “DUNKIRK”. Very impressed. Despite my fears that it would prove to be another one of those two-to-three hour World War II epics with a cast of thousands, the movie proved to be something different. Nolan took the World War II epic trope and nearly turned it on its ears with a smaller running time and a non-linear narrative that emphasized the importance of time. It also featured a superb cast led by the likes of Fionn Whitehead, Tom Hardy and Mark Rylance. Is it the best World War II movie I have seen? I cannot answer that question for it would be subjective. But it may prove to be one of my favorites.

“DOWNTON ABBEY” Food Styles

Below are images of culinary dishes created by food stylist/chef, Lisa Heathcote, for the 2010-2015 ITV series, “DOWNTON ABBEY”

 

“DOWNTON ABBEY” FOOD STYLES

“POLDARK” Series One (1975): Episodes Thirteen to Sixteen

“POLDARK” SERIES ONE (1975): EPISODES THIRTEEN TO SIXTEEN

The fourth novel in Winston Graham’s “POLDARK” literary series, “Warleggan: A Novel of Cornwall, 1792-1793” (1953)proved to be a big game changer in the saga. The novel featured the death of a major character, which in turn, led to some surprising schisms within the family of the saga’s protagonist, Revolutionary War veteran and Cornish landowner Ross Poldark. More importantly, “Warleggan” also featured a major controversy that proved to be quite a challenge for the BBC’s adaptation of the novel. 

Producers Morris Barry and Anthony Coburn adapted “Warleggan” in Episodes Thirteen to Sixteen, the last four episodes of the series that aired in 1975. Ironically, this adaptation began where Episode Twelve left off – with Demelza Carne Poldark going into labor, as she reached the beach after interrupting a fishing trip. In the following scene, Ross, Demelza and their servants toasted the birth of the family’s newest member, Jeremy Poldark. At that point, the series’ adaptation of “Jeremy Poldark: A Novel of Cornwall, 1790-1791” ended and its adaptation of “Warleggan”. Confused? I was after viewing the first five minutes of Episode Thirteen.

Not much really occurred in Episode Thirteen . . . at first. The romance between Dr. Dwight Enys and heiress Caroline Penvenen continued, despite her engagement to aspiring politician Unwin Trevaunance. Francis Poldark, Ross’ younger cousin, seemed to have a new lease on life now that the two cousins have reconciled and invested in an old Poldark copper mine, Wheal Grace. The only black spot in Francis’ life was his failed marriage with Elizabeth Chynoweth Poldark. Despite his renewed relationship with Francis, a new son and the investment in Wheal Grace; Ross’ problems have not ended. He remained in debt. He continued to allow a local smuggling ring to use the cove on his land to hide goods. And his feelings toward Elizabeth Chynoweth Poldark remained strong as ever. Elizabeth seemed to share his feelings. However, the episode ended on a tragic note when Francis fell and drowned, while investigating Wheal Grace for copper. Although grief-stricken over Francis’ death, Ross sold his Wheal Leisure shares and handed over 600 pounds (the same amount that Francis had invested in Wheal Grace) to financially help Elizabeth and her son, Geoffrey Charles. This act not only angered Demelza, but also increased her hostility toward her cousin-in-law.

The Poldark family drama took a back seat in Episode Fourteen. Instead, this episode focused on Wheal Grace and Ross’ involvement with the local smuggling ring. In the wake of Francis’ death, Ross traveled to France to question fugitive Mark Daniels about the copper ore that the latter had allegedly discovered while hiding from the law back in Episode Eight. However, Ross found it difficult to get any information, due to Mark’s bad health continuing obsession over his murder of his wife, Keren. During this time, Dwight Enys and Caroline Penvenen finally decided to elope. Unfortunately, Dwight discovers that a local man named Charlie Kempthorne had betrayed the smugglers to Captain McNeil and the militia. He sacrificed his marital plans with Caroline to warn the smugglers and Ross, who had just returned from France. The latter managed to evade being arrested by McNeil by hiding inside the Nampara manor.

While Ross dealt with his concerns over Wheal Grace and Trencomb’s smuggling operation, his nemesis George Warleggan courted the impoverished Elizabeth Poldark before finally proposing marriage to her. Elizabeth informed Ross about her upcoming nuptials in a letter. This drove Ross to ignore Demelza’s pleas to stay home and confront his widowed cousin-in-law at Trenwith about the engagement. Elizabeth made it clear that she intends to marry George. In retaliation, Ross took her by surprise by raping her. When he returned to Nampara the following morning, Demelza angrily guessed that Ross had sex with Elizabeth. Angry over his infidelity, Demelza accepted an invitation to a party hosted by Sir Hugh Bodugran. She planned to pay back Ross’ infidelity by having sex with Captain McNeil. However, at the last minute, Demelza could not go through with it and was forced to prevent herself from being raped by McNeil with a blow to his nether regions. And to avoid being sexually assaulted by Sir Hugh and another guest, she climbed out of the window and returned to Nampara.

The adaptation of “Warleggan” ended in Episode Sixteen. By this time, Elizabeth has married George, yet the couple continued to live at Trenwith. George closed off the Trenwith lands from its tenants against Elizabeth’s advice. Meanwhile, Demelza and Ross’ marriage deteriorated even further . . . to the point that she made plans to leave him and return to her father’s home. Discovering that Ross had went to Trenwith to castigate George for the enclosure of the estate, Demelza headed there as well. Not long after her arrival, both Demelza and Ross found themselves protecting George, Elizabeth and the other inhabitants at Trenwith from a mob bent upon expressing their displeasure at the enclosure. Although everyone got away – aside from a few servants, the mob burned Trenwith to the ground. By the end of the episode, the War of the First Coalition had started. Dwight Eyns joined the Royal Navy as a ship’s surgeon following his aborted elopement with Caroline. After fleeing the burnt out Trenwith manor together, Ross and Demelza finally reconciled on the beach before he could report to his regiment.

There were many aspects of Episodes Thirteen to Sixteen that I enjoyed or admired. I found the performances rather first-rate. Although there were moments that Robin Ellis’ portrayal of Ross Poldark struck me as cold and stiff, overall, I thought he gave a great performance – especially in Episodes Fifteen and Sixteen. Both he and Angharad Rees really stood out in one scene from Episode Sixteen in which they had a serious quarrel over his night with Elizabeth. The latter was also excellent in her scenes with actor Donald Douglas, who portrayed Captain McNeil. Episode Thirteen marked Clive Francis’ last performance as the doomed Francis Poldark. I realize that I have not always been that impressed by his performance in past episodes. That was due to the limited scenes given to him in the series’ first four episodes. But I thought Francis gave an excellent performance in his last episode – especially in his scenes with Rees and Jill Townsend. As always, the latter gave an excellent performance as Elizabeth Poldark Warleggan – especially in one scene with actress Norma Streader – in which Elizabeth expressed her disenchantment with the Poldark family to her sister-in-law, Verity Poldark Blamey. And Ralph Bates continued his smooth and cool performance as the ambitious George Warleggan, who seemed hellbent upon claiming Elizabeth as his wife and getting his hands on Poldark land.

The four episodes also marked memorable performances from Richard Morant and Judy Geeson, who continued to create sparks in their portrayal of the Dwight Enys-Caroline Penvenen romance. Donald Douglas gave a very lively and a times, rather intimidating performance as the Scottish-born militia officer, Captain McNeil. Pip Miller gave a very intense performance as Mark Daniels’ brother, Paul. And Martin Fisk returned to give a very poignant and effective performance as the dying fugitive, Mark Daniels. Other memorable performances also came from Patrick Holt (whose character’s name has been changed from Ray Penvenen to Benjamin Penvenen), Norma Streader as Verity Blamey, Mary Wimbush as Prudie Paynter, Peta Mason as Rosina Hoblyn and David Garfield as Jacka Hoblyn.

Episodes Thirteen to Fifteen also featured some memorable scenes and sequences. One interesting scene in Episode Thirteen featured Ross’ visit to Trenwith following Francis’ death and a rather poignant conversation between him and recently widowed Elizabeth, thanks to superb performances from Robin Ellis and Jill Townsend. I was rather surprised and impressed by how screenwriter Jack Russell and director Paul Annett utilized three separate story lines – Ross’ visit to Mark Daniels in France, Dwight Enys and Caroline Penvenen’s botched elopement, and the smugglers’ conflict with Captain McNeil and the militia – and managed to combine them into a suspenseful episode and strong story. I have already pointed out the scene in Episode Sixteen in which Ellis and Angharad Rees superbly conveyed a bitter quarrel between Ross and Demelza. I thought Annett did an excellent job in directing the mob attack upon Trenwith. I thought it was exciting and very detailed. But the most interesting sequence for me proved to be Sir Hugh Bodrugan’s house party. Thanks to Annett’s direction, I felt as if I was witnessing the upper-classes of 18th century Cornwall at its most decadent.

I had a good deal to praise about the 1975 series’ adaptation of “Warleggan”. But if I must be brutally honest, I did not like it in the end. I did not like it one bit. There were too many changes to Graham’s novel that I either did not like or rubbed me the wrong way. One problem I had with this adaptation was its use of the Verity Blamey character. When the series’ adaptation of “Jeremy Poldark” had failed to introduce Verity’s stepson and stepdaughter, I assumed they would appear in the “Warleggan” adaptation. Unfortunately, Coburn, Barry and Russell felt it unnecessary to provide audiences with a peak into Verity’s personal life with the Blameys. Instead, they used Verity in a scene with Elizabeth, involving a letter announcing the latter’s engagement to George Warleggan – a scene that I heartily disliked. I certainly did not like how the producers and Russell handled Francis Poldark’s death in Episode Thirteen. It seemed . . . rushed. Unnecessarily so. After a minute or two of exploring the depths of Wheal Grace, Francis slipped and felled. The camera then briefly focused on Francis’ dead body before the episode rushed to Ross paying the recently widowed Elizabeth a visit at Trenwith. The episode did not bother to focus on Francis’ struggles to stay alive before he drowned. Nor did it feature Francis’ funeral. I cannot help but feel that if Coburn and Barry had aired Jeremy Poldark’s birth in Episode Twelve – where it belonged – Episode Thirteen could have focused more time on Francis’ death.

I also disliked a scene from Episode Sixteen featured a scene that had Caroline Penvenen playing “Lady Bountiful” to abused and physically disabled Rosina Hoblyns by offering the latter a job as her personal maid. It never happened in the novel and the scene pointed a false portrait of Caroline, who was never that saintly in any of the novels. One other scene from Episode Sixteen had me rolling my eyes with contempt. In it, a still angry Demelza had decided she would leave Ross for good. She planned to leave their two year-old son Jeremy with Verity and Andrew Blamey . . . and return to her father’s home. I found this decision utterly laughable and anachronistic. Demelza was a character in a novel set in the early 1790s, not the mid 1970s. Since she was a woman, there is no way Ross would allow Demelza to dictate their son’s whereabouts without his consent. And since Demelza also had working-class origins, no judge throughout Great Britain would allow her to hand Jeremy over to the Blameys or keep him for herself without Ross’ consent. Chances are if Demelza had insisted upon leaving Ross for good, he would have assumed control over Jeremy and insure that Demelza never set eyes upon their son, while the latter remained a minor.

But what truly made me dislike the 1975 series’ adaptation of “Warleggan” was the manner in which it handled Ross Poldark’s rape of his cousin-in-law, Elizabeth Poldark in Episode Fifteen. I found it abominable. Producers Coburn and Barry, along with screenwriter Russell were willing to show Ross about to rape Elizabeth. The episode ended the scene in the same manner that Winston Graham did – with Ross about to force himself on Elizabeth, inside her bedroom at Trenwith. But Russell made so many changes – before and after the rape – to ensure that viewers would never castigate Ross for the rape.

One, the portrayal of Elizabeth underwent a drastic change in Episode Thirteen, when she was suddenly portrayed as this greedy and cold bitch. Many fans have accused the literary Elizabeth of being cold. Elizabeth was never really cold . . . just reserved. Introverted. Two, screenwriter Jack Russell drastically changed Elizabeth’s reason for marrying George Warleggan. Although she was satisfied with George’s promises of great wealth, more social clout and trips to London; Elizabeth’s true reason was to prevent her life and the lives of her immediate family from abject poverty and to prevent her son Geoffrey Charles from losing Trenwith in the future. This is what she had conveyed to Ross in her letter written to him. This did not happen in the 1975 series. Instead, Elizabeth literally boasted to her sister-in-law Verity that her only reason for accepting George’s proposal was for her to enjoy a life of great wealth. That is what she had conveyed to Ross in her letter. It seemed that Elizabeth was being “set up” to being punished by Ross for her “selfishness and greed”.

Ross read Elizabeth’s letter. He rushed over to Trenwith and tried to insist that she break her engagement to George. Then he raped her. The ironic thing is that the entire scene between Ross and Elizabeth was rushed. The pair barely exchanged three or four sentences before Ross threw her on the bed and proceeded to rape her. The attitude behind this entire rush job seemed to be one of “let’s hurry it up and get this scene over with”. But what happened in Episode Sixteen almost disgusted me as the actual rape did. Jack Russell created this entire scenario of Trenwith’s former tenants marching upon the estate’s manor house, attacking the inhabitants and burning it down. This was never in the novel. Yes, George did enclosed the Trenwith estate from its tenant farmers. But there was no mob scene created by Graham to give Ross the opportunity to play “hero” and save Elizabeth and George from being killed.

Worse, just before the outbreak of attack, Ross confronted the recently married couple about the enclosure. He had the nerve to confront Elizabeth and castigate her for her wedding to George. It . . . was . . . disgusting . . . to watch. I sat in front of my television set and watched a rapist slut shame his victim for marrying his rival. That moment was one of the most misogynist I have ever seen in my life. After Ross had saved Elizabeth and George from the mob, he slut shamed her again with a you are beneath me look, when she asked him why he had bothered to save George. He was disgusted? I was disgusted . . . with producers Morris Barry and Anthony Coburn for sanctioning this piece of misogynist shit. And I was disgusted with Jack Russell for writing it. There was only one scene in the entire four episodes adaptation of “Warleggan” that painted Elizabeth in a positive or sympathetic light – when she criticized George for enclosing the Trenwith land from the tenants. I am glad that the producers and screenwriter were willing to portray Elizabeth being capable of sympathy toward others. But apparently, they were unwilling for television viewers to sympathize with her being raped. Why? Because she was a woman and thanks to the leading man’s obsession with her . . . a threat to his marriage with the leading lady.

And if that was not enough, I found myself wondering if the producers and Russell had found another way to slut shame Elizabeth. I am referring to the scene featuring Demelza’s confrontation with Captain McNeil at Sir Hugh Bodrugan’s party. Following her initial intent to sleep with McNeil, she changed her mind. In the novel, McNeil eventually backed off, realizing that he was not the kind of man to force his unwanted attentions on a woman. In the 1975 adaptation, McNeil came to no such conclusion and tried to rape Demelza. She fought him off by kneeing him in the balls. Then she made her escape. The message I got from this version of Demelza and McNeil’s encounter was a criticism of Elizabeth for failing to fight off Ross, earlier in the story. Russell’s screenplay seemed to hint that Elizabeth could have done the same if she truly wanted Ross out of her bedroom. Hmmm . . . considering that only one or two people have ever complained about this change, I cannot help but realize that our society has truly embraced a rape culture.

I plan to continue my viewing of the 1970s version of the “POLDARK” series. Why? Well, I bought the entire box set for the series. And many people, including myself, believe that the next three novels that follow “Warleggan” are among the best in the series. But I will never like the 1975 adaptation of “Warleggan”. The producers and the screenwriters corrupted Winston Graham’s story and completely changed what he was trying to say about the consequences of rape through the Ross Poldark and Elizabeth Poldark Warleggan characters. For me, Episodes Thirteen to Sixteen were a damn travesty.

“WONDER WOMAN” (2017) Review

 

“WONDER WOMAN” (2017) Review

Since the release of “MAN OF STEEL” back in 2013, the D.C. Comics Extended Universe (DCEU) franchise has been in a conundrum. Although the 2013 film and with the two movies that followed – “BATMAN V. SUPERMAN: DAWN OF JUSTICE”and “SUICIDE SQUAD” – were all box office hits, they had been heavily condemned by many film critics. Then along came “WONDER WOMAN”, the first superhero movie that featured a woman in the lead since 2005. 

Directed by Patty Jenkins, “WONDER WOMAN” is basically a flashback on the origins of Princess Diana of Thymerica aka Diana Prince aka Wonder Woman. Some time after the events of “BATMAN V. SUPERMAN: DAWN OF JUSTICE”, Diana received a package at her Antiquities Curator office at the Louvre Museum. It came from Bruce Wayne aka Batman and it contained the original photographic plate of her, Steve Trevor and their comrades during World War I:

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The photographic plate led Diana to recall her past, starting with her childhood on Thymerica Island. While being raised by her mother, the Amazonian Queen Hippolyta, Diana learns about Zeus’ creation of mankind and his son Ares’ jealousy of his father’s creation and the latter’s attempts to destroy humans. After the other Mount Olympus gods were killed by Ares, because of their attempts to stop him, Zeus created a weapon for the Amazonians, a “Godkiller”, in case Ares decides to return. Although Queen Hippolyta has no trouble telling Diana about Zeus, Ares and the other Mount Olympus gods; she forbids her sister and military leader of the Amazons, Antiope, to train Diana. Eventually she relents and demands that Antiope train Diana harder than the other Amazons.

During the last year of World War I, Diana rescues an American military pilot named Captain Steve Trevor, after his plane crashes off Themyscira’s coast. The island is soon invaded by German sailors from a cruiser, pursuing Trevor. The Amazons engage and kill all of the German sailors, but Antiope sacrifices herself to save Diana. Interrogated with the Lasso of Hestia, Trevor informs the Amazons about World War I, his position as an Allied spy and his mission to deliver a notebook he had stolen from the Spanish-born chief chemist for the German Army, Dr. Isabel Maru. The latter is attempting to engineer a deadlier form of mustard gas for General Erich Ludendorff at a weapons facility in the Ottoman Empire. Against her mother’s wishes, Diana decides to help Steve’s war efforts by leaving Themyscira and accompanying him to London. Recalling Hippolyta’s tales about Ares, she believes the latter is responsible for the war and hopes to kill him with the help of the Lasso of Hestia and the “Godkiller” sword that Zeus had left behind.

As I had earlier pointed out, “WONDER WOMAN” received a great deal of critical acclaim. In fact, it proved to be the first film in the DCEU franchise to do so, leading many to regard it as better than its three predecessors. Do I feel the same about the movie? Not quite. Do not get me wrong, “WONDER WOMAN” struck me as a first-rate movie that I found very entertaining. As a woman, I found it personally satisfying that it proved to the first successful comic book heroine film. More importantly, it was also the first comic but the first to be directed by a woman. In the end, “WONDER WOMAN” became one of my top favorite movies from the summer of 2017. Many people were surprised that most of the film – namely the flashback – was set during the last month of World War I, especially since Wonder Woman’s origin began during World War II. It could be that Warner Brothers wanted to avoid any comparisons with Marvel’s Captain America, whose origin began around the same time. I am glad that the movie was mainly set during World War. One, I feel that it would have been compared to Marvel’s 2011 film, “CAPTAIN AMERICA: THE FIRST AVENGER”. But more importantly, the World War I setting meshed better with the film’s portrayal of one of the villains, Erich Ludendorff. And without the World War I setting, I would have never experienced one of the best action sequences I had seen this summer – Wonder Woman’s foray into “No Man’s Land”, as seen in the images below:

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Thinking about the No Man’s Land” sequence reminded me of other action scenes in the movie that I found satisfying. Those scenes include a montage of Diana’s training as a warrior, the Amazons’ defense of Thymerica against invading German sailors, Diana and Steve’s encounter with a group of German spies in a London alley. The “No Man’s Land” sequence eventually led to another fight in which Diana, Steve and their companions led a liberation of the Belgian town Veld, which had been occupied by the Germans. You know what? It is possible that I may have enjoyed this sequence even more than the charge across “No Man’s Land”. One, it lasted longer. And the sequence featured more of a team effort between Diana, Steve, their three companions and troops from the Allied Powers. In fact, one scene featured Steve remembering an Amazonian tactic from the Thymerica battle and utilizing it with Diana in Veld. I literally smiled at that moment.But “WONDER WOMAN” was not all about action scenes. Personally, I regard the movie as a character study of its lead character. Ever since Diana had informed Bruce Wayne that she had walked away from mankind for nearly a century in “BATMAN V. SUPERMAN: DAWN OF JUSTICE”, I have always wondered what led her to become that slightly cynical woman. For me, “WONDER WOMAN” told that story . . . to a certain extent, thanks to Allan Heinberg’s screenplay. The Princess Diana aka Diana Prince that we see in this film is an intelligent woman with a fierce sense of justice and duty. Whereas her mother and other fellow Amazons want to isolate themselves from humanity and the rest of the world at large, Diana views Steve’s arrival and his revelation about the war being raged to save humanity from what she believed was Ares’ destructive influence. Diana is also portrayed as a compassionate woman incapable of turning a blind eye to the devastating effects of war upon the Belgian civilian population and servicemen like Charlie, a Scottish sharpshooter and ally of Steve’s, who suffered from posttraumatic stress disorder (PSTD). She also possessed enough compassion to become aware of the discrimination that Steve’s other two friends faced – the Blackfoot warrior and smuggler Chief Napi and the French Moroccan secret agent, Sameer.

But Diana’s belief in Ares’ role in the Great War also revealed some negative aspects of her personality. One aspect of Diana’s personality in this film was her naivety. There were scenes in which her naivety about the “world of man” that I found humorous – namely her shopping trip with Steve’s assistant, Etta Camp; her introduction to ice cream; and her discussions with Steve about human sexuality. But there were plenty of times when I found her naivety very frustrating – especially in those scenes in which Steve tries to explain the true ambiguous nature of human beings and the war. A good example was Diana’s interruption of the Allied Powers’ high command and her attempt to instruct the generals on how to “run a war”. Many found this scene as an example of Diana’s feminine empowerment. I found it as an example of her naivety and a bit of arrogance on her part. In these scenes, Diana seemed to display a stubborn, almost hard-headed and blind reluctance to let go of her misguided beliefs. Because of this unwillingness to believe she might be wrong about matters, Diana killed one of the characters believing him to be Ares without any real proof. I found this moment rather frightening. This hard-headed trait revealed what I believe was one example of Diana’s penchant for extreme behavior. Diana’s angry and frightening reaction to Steve’s sacrifice was another example. And the hard lessons she had learned about humanity, along with personal tragedy, led to her almost century long foray into emotional isolation. In many ways, Diana’s journey is that if an idealist, whose positive assumptions had been ripped away in the most painful manner.

While watching “WONDER WOMAN”, it seemed obvious to me that Patty Jenkins is more than a competent director. She is obviously first-rate. Mind you, I do not believe that she possesses Zack Snyder’s razor-sharp eye for imagery. And yet, judging from the sequences of the Thymerica battle, Diana and Steve’s arrival in London; along with the outstanding “No Man’s Land” sequence, it seems obvious to me that Jenkins has a solid grasp of imagery and is capable of being a visually original director. It helped that cinematographer Matthew Jensen and film editor Martin Walsh contributed to Jenkins’ visual presentation of “WONDER WOMAN”. I would not consider the costume designs from “WONDER WOMAN” to be among the best of Lindy Hemming’s career and a costume designer. But I thought she did an excellent job in designing the Greco-style costumes for the Amazons – including Diana’s Wonder Woman costume. And I found her re-creation of the 1918 wartime costumes for the characters of both genders well done:

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Although I believe there is a great deal to admire about “WONDER WOMAN”, I do have a few complaints. One of them happened to be Jenkins’ use of slow-motion filming in many of the film’s action sequences. Yes, I realize that Jenkins was not the first director to use this form of filming action scenes. Her fellow DCEU director, Zack Snyder, was notorious for his use of this technique – especially in his pre-DCEU films. Unfortunately, I found myself getting tired of the slow-motion technique not long after ten to fifteen minutes into the film. I mean . . . good grief! Jenkins not only used it in the film’s every action sequence, but also in one scene that featuring one of the Amazons’ combat training sessions. I just got tired of it . . . really fast.My second problem with the film centered around the final action scene between Wonder Woman and Ares. I had no problems with Ares’ revelation about his identity. And I certainly had no problems with his revelations about the true nature of humanity and the war itself. And I found Wonder Woman’s reactions to his revelations and Steve Trevor’s sacrifice rather interesting. But why . . . why in God’s name did Jenkins and Heinberg find it necessary to have Diana say the following line to Ares before their final duel?

“It’s about what you believe. And I believe in love. Only love will truly save the world.”

While the sentiment is lovely, it contradicted Diana’s cynical attitude and words to Bruce Wayne, following Clark Kent’s death in “BATMAN V. SUPERMAN: DAWN OF JUSTICE”:

“A hundred years ago I walked away from mankind; from a century of horrors… Men made a world where standing together is impossible.”

Now, one could say that Diana had acquired this attitude during the 97 years between her showdown with Ares and the incident with Doomsday. But she made it clear to Bruce that she had walked away “a hundred years”, which is roughly between the end of World War I and “BATMAN V. SUPERMAN”, save a three years. Why did Jenkins and Heinberg allow her to spout that line about how love with save the world? Was this some emotional sop to those critics and moviegoers who wanted to pretend that Diana had managed to avoid wallowing in her grief over Steve and disappointment over Ares’ revelation? If so, that is bad writing . . . or bad timing. Jenkins and Heinberg could have saved the line for Diana’s narration at the end of the movie. After she had received the photographic plate and Steve’s watch from Bruce . . . and after she had finally lifted herself from her cynicism and detached air.

I certainly had no complaints about the movie’s performances. Mind you, there were two performances that failed to knock my socks off. One came from veteran actor Danny Huston, who found himself saddled with the clichéd riddled character of General Erich Ludendorff. Huston did not give a bad performance. Being a first-rate actor, he did the best that he could with the material given to him. But the screenwriter’s portrayal of the character reeked with the Hollywood cliché of an aggressive German military officer, straight from the “Ve haf vays of making you talk” school of screenwriting. And I believe this may have hampered Huston’s performance. I also had a slight problem with Eugene Brave Rock, who portrayed one of Steve Trevor’s allies, Chief Napi. Rock was not a bad actor and I found him very likeable. But it was easy for me to see that he was not exactly the most experienced actor. And I was not surprised to discover that he had spent most of his film career as a stuntman and stunt trainer. When Ewan Bremner first appeared in the film, I suspected that he had been cast to portray another one of the many comic roles he has portrayed in the past. However, his character Charlie proved to be another kettle of fish. Thanks to Bremner’s skillful performance, Charlie proved to be a tragic figure whose peace of mind had been ravaged by the violence of war. Elena Anaya, whom I have never heard of before this film, gave an intelligent and intense performance asIsabel Maru aka Doctor Poison, the Spanish-born chemist recruited to create chemical weapons for the German Army and specifically, for General Ludendorff. Unlike the latter, Dr. Maru is a villainess straight from the pages of the D.C. Comics titles for Wonder Woman. And yet, thanks to Anaya’s performance, she was not portrayed in a ham-fisted manner. But I must admit that I adored Saïd Taghmaoui’s portrayal of French Moroccan secret agent, Sameer. I found his performance charming, witty and very intelligent. And in my view, he had the best line in the movie (about Diana, of course):

“I am both frightened… and aroused.”

Connie Nielsen’s portrayal of Diana’s mother, Queen Hippolyta of Thymerica proved to be more interesting that I had assumed it would be. Frankly, I thought Queen Hippolyta would be a somewhat bland parent figure, who was simply protective of her only daughter. In the end, Hippolyta’s protectiveness toward her daughter proved to have a major impact upon the latter. This same protectiveness, along with her world-weary response to Diana’s decision to leave Thymerica revealed the true, ambiguous nature of the character and Nielsen did an excellent job in conveying it. Robin Wright had an easier time in her portrayal of Diana’s aunt, Antiope. The actress not only did a great job, I was especially impressed at how she embraced the more physical aspects of the role. After all, Antiope was the Amazonian army’s lead general. I was very surprised to learn that the actress who portrayed Etta Candy, Steve Trevor’s assistant, was none other than Lucy Davis, who had a supporting role in the 1995 miniseries, “PRIDE AND PREJUDICE”. Personally, I adored her portrayal of Etta. Like Taghmaoui, she was a walking embodiment of charm and wit. I especially enjoyed Davis’ performance in the scene that featured Diana and Etta’s shopping trip. David Thewlis gave a superficially pleasant performance as the dignified Sir Patrick Morgan, a diplomatic liaison with the Imperial War Cabinet. I found him intelligent, subtle and a little tricky.

I have a confession to make. I have always liked Gal Gadot as a screen presence. Honestly. She has a very strong presence. But I have never considered her as a top-notch actress . . . until recent years. But I must admit that her portrayal of Princess Diana of Thymerica aka Diana Prince aka Wonder Woman really knocked my socks off. I was impressed at how Gadot managed to portray Diana during two distinctive phases in her life – the naive, yet stubborn young woman who seemed convinced that she knows what is best for the world in this film; and the cynical and weary woman who is somewhat contemptuous of the world in “BATMAN V. SUPERMAN: DAWN OF JUSTICE”. And she did such a marvelous job in conveying this two phases in Diana’s life . . . in two different films. Ms. Gadot has come a long way. I think Steve Trevor might one of my favorite roles portrayed by Chris Pine. Aside from the fact that he has great chemistry with Gadot, Pine gave a very entertaining portrayal of the American intelligence officer who first befriends Diana and later, falls in love with her. I found it fascinating to watch Pine convey Steve’s intelligence, cunning and wry sense of humor. I also found it fascinating to watch how Pine conveyed Steve’s struggles with Diana’s naivety, stubborness and impulsive behavior. And he did so with a great deal of skill.

“WONDER WOMAN” is the fourth film released through the D.C. Comics Extended Universe (DCEU). And like the other three, I found myself not only enjoying it very much, but also impressed by it. Aside from a few flaws, I thought director Patty Jenkins did a first-rate job in telling movie audiences the story of how Princess Diana of Thymerica became Wonder Woman . . . and how she also became that world weary woman from 2016’s “BATMAN V. SUPERMAN: DAWN OF JUSTICE”. And she did so with a first-rate movie crew and a wonderful cast led by Gal Gadot.

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